Eccentric Admirer of Nureyev's Canine Shows Devotion at Folk Opera
Entertaining Stage Show: Nureyev's Canine Companion Takes Center Stage
The captivating presence of the legendary ballet dancer Rudolf Nureyev endures, even three decades after his passing. In the playful and heartwarming family show titled "Nureyev's Dog," his role is handed to his loyal Rottweiler. This humorous and poignant production by Peter te Nuyl and Keren Kagarlitsky premiered at the Vienna Volksoper, amassing enthusiastic responses.
In reality, Nureyev - a dancer born in the Soviet Union who later escaped to the West - did indeed have a Rottweiler. After Nureyev's passing, the dog was taken in by his longtime ballet mistress, Marika Besobrasova. The tale goes that she even made her students bow to the dog.
A Tale of Transformation
Elke Heidenreich's novella "Nureyev's Dog or What Longing Can Do," published in 1998, already positioned the dog as the main character. Now, inspired by this story, comes the dance and music piece, choreographed and directed by Florian Hurler, a former student at Besobrasova's ballet school in Monte Carlo, who had the chance to meet Nureyev's dog personally.
The show begins with the dog and the narrator, the character "Solor," portrayed by actor Florian Carove, taking center stage. Solor witnesses the lively, champagne-drinking attendees at a flashy party in New York, including two performing drag queens. This sets the stage for the journey that follows, unfolding vividly like a top-tier picture book (thanks to the refined stage design by Christof Hetzer). "Are you coming, dog?" Nureyev (Sebastian Wendelin) asks, leaving his previous owners behind.
Subtle Emotions, Vibrant Music
The story progresses from New York to Paris, then to the studio of "the strictest ballet mistress in all the land" (soprano Ursula Pfitzner). Here, the students demonstrate lifts, jumps, and turns under Nureyev's scrutinizing gaze, even as he struggles with illness. The production then follows Nureyev's departure and the initial resistance from Solor, as he teams up with Marika. The show ends on a hopeful note.
The bond between the ailing Nureyev, tormented by illness, homesickness, and longing for his mother, and his faithful dog, as they express their emotions through minimalist gestures, is the most striking moment of the production. On the other hand, Solor playfully lifts the dog's paw at the piano, prances through the park in his brown getup, growls, and drools. Solor's inner thoughts bring the two closer together, as they ponder freedom together.
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Kagarlitsky's thoughtfully selected music, including ballet music by Jacques Offenbach, George Gershwin's "An American in Paris," opera arias, Russian lullabies, and Tatar folk dances, adds a lively touch to the production. The conductor of the People's Opera orchestra also contributed with her own compositions, such as the accompaniment to Nureyev's monologue in the moments before his death.
A Charming Canine Capers
In the end, it becomes evident: Even a large dog can show grace in its prancing and spinning, and no one should give up in the quest for personal fulfillment. The identity of the mysterious girl who continually stands by Solor's side, seen only by him, remains a mystery. One cannot help but wonder: How might the actual Nureyev's dog have responded to the performance? As Solor says right at the start, "All animal stories are really about people, not animals." That's what makes it so charming. And especially this time, a big bow!
In the heartwarming production, "Nureyev's Dog," the loyal Rottweiler experiences a sense of loss as it follows Nureyev, endeavoring to understand the dancer's emotions in his final moments. The poignant production, enlivened by Kagarlitsky's carefully chosen music, offers a unique blend of entertainment and emotion.
